Tarik O'Regan: Acallam na Senórach

In writing this musical setting of Acallam na Senórach I was drawn to the evenness of the dialogue. Instead of St Patricksimplyconverting the pagan warriors, he is encouraged to listen to Ca lte’s stories and poems of an earlier time, in which the saint delights.

This secular/sacred osmosis is maintained unwaveringly throughout the entire text. Bythe end of the narrative, one has witnessed not only the arrival of a new religion in Ireland, but also a richly-recounted secular narrative map of the entire island: the peaceful and enriching shaking of two great hands.

Inpreparing the libretto (the sung text), I have focused on only a few of the shorter constituent tales. This decision was born of the practical constraints of duration. I have, however, kept the skeleton, albeit smaller, of theoverall frame in place. Finally, for the sake of simplicity, Ois n is removed from the primary narrative.

The characters are not assigned specific voices. The narrative as a whole is carried by a persistently changingcombination of voices and guitar. The one exception is Cas Corach, the musician of the s d (underworld) who is most closely embodied, throughout this setting, in the solo interludes for guitar.

The music itself is notethnographically inclined; that is, I have not attempted to reconstruct theories on Irish music of the period from which Acallam stems. However the score generally, and especially in the guitar writing, is imbued with an air